Editor’s Note: Sometimes it seems like Freeline Media movie critic Mike Fried has Godzilla on the brain — and why not, with so many suave Godzilla flicks to review! Read on for Mike’s Godzilla roundup!
By MIKE FRIED
While the Showa Era introduced the classic Godzilla and the launch of the greatest franchise in Movie History, Toho had stretched its ideas thin by 1975’s TERROR OF MECHAGODZILLA so they decided to regroup and they waited a few years to reboot the franchise. In my considered opinion, they did a good job in waiting. The Heisei/VS Era was notable for its return to form of the early Showa era in making Godzilla an antagonistic son of a bitch bent on destruction. What the Heisei era, which lasted from 1984 to 1995, did was to create a continuity and all of the films were direct sequels to the film that preceded it, including THE RETURN OF GODZILLA, which is both a reboot of, and sequel to, the original 1954 film. The new crop of younger filmmakers employed a more energetic style of filmmaking and the continued storyline was quite effective and introduced the character of empath Miki Saegusa who would be the one character who appeared in more Godzilla films than any other character. Toho had intended for GODZILLA v DESTOROYAH to be the final movie of the franchise, ceding control of the product to Columbia and Tri-Star Pictures for the 1998 reboot, GODZILLA.
When that film, which was supposed to be the first film in a planned trilogy, got disappointing reviews, despite having achieved box office success, the second and third films were cancelled and Toho had to scramble. I will be discussing the American 1998 Godzilla in a future post.
But what Toho did was as inventive as what they had done in the Heisei/VS series.
The created the Millennium Era, which consisted of 6 films that were all standalone films, all of which were direct sequels to the original 1954 film, with the exception of 2003’s GODZILLA:TOKYO S.O.S. which was a sequel to 2002’s GODZILLA AGAINST MECHAGODZILLA, and these two films also are also connected to 1961’s Mothra and to 1966’s The War of the Gargantuas. What set these films apart from all of their predecessors is the very nature of the standalone premise, where all prior films could easily be ignored and new storylines be worked out. Again, younger directors provided the films with an very energetic, almost rock ‘n roll style, that powered the frenetic pace of the films.
But what the films kept were the good humans and the bad humans, although for the most part in the Showa series the bad humans were largely caricatures of criminals boastful and full of braggadocio until Godzilla stepped on their heads, the “bad” humans in the Heisei and Millennium era are more shadowy, circumspect in their badness. They may be, like Dr. Shiragami in Biollante, driven to experiment out of grief or like shadowy government operative Mitsuo Katagiri who is just bad. But the acting is not the over the top style favored by Ishiro Honda.
But the new directors and new Producers never disrespected Showa as they brought back many actors from the Showa era in critical parts, even bringing back a beloved character from the original film and had the original actress play the role.
These two eras show why Godzilla is s till King of the Monsters and while all of the movies are for fanboys and and fangirls, there are several that should appeal to anyone who loves Monster Horror.
Enjoy!
THE RETURN OF GODZILLA (1984)
5/5
Happy 30th Birthday, Big G!!
A fishing crew out on the high seas in bad weather is in danger of foundering on an island when the top of the mountain blows off and we hear a loud familiar roar. A reporter named Goro Maki finds the abandoned vessel and one survivor and these really creepy huge ass bugs. The survivor tells Maki that it was nothing less than the resurrection of Godzilla. The Japanese government suppresses news of this re-emergence but things come to a head when Godzilla destroys a Russian submarine and the American and Russian think that a nuclear strike is the only way to stop him.
This is a superb reboot of the franchise for the Heisei era, especially since Godzilla is better as a bad ass. It ignores every film in the Shōwa era except for the original, so the resurrection as a villain makes logical sense. Producer Tomoyuki Tanaka realized it was a mistake to make the child friendly fare towards the end of the Shōwa era.
Godzilla’s first appearance is nothing short of monumental as he strides to a nuclear power plant to feed himself. The sight of Godzilla chugging down a nuclear reactor is terrific.
Godzilla’s height had to be raised because by 1984 buildings were taller than they were in 1954. And thankfully Toho took this reboot of the franchise seriously and allocated a larger budget to the film so that the buildings in Tokyo could be nicely rendered and then realistically destroyed. In addition, this would be the first film where the characters employ cutting edge technology against Godzilla instead of the fictional Maser Cannons. Ok, the new cutting edge technology is also fictional but at least it is up to date.
And it’s nice to see that while the new slate of filmmakers at Toho are trying new things, they’ve populated the film with some of the more well known actors from the Shōwa era. Yôsuke Natsuki, Yoshifumi Tajima and Hiroshi Koizumi are a sight for sore eyes. Natsuki took the role intended for Akihiko Harata who was dying of cancer and he said that he would never have accepted the role had he known that it was intended for Harata.
Newcomer Ken Tanaka is terrific as Goro Maki, the same character as the lead from Son of Godzilla and the not seen but much referenced professor in Shin Godzilla.
Ishiro Honda declined the invitation to direct his film took with his friend Akira Kurosawa but recommended his Assistant Director from the 1960s films, Koji Hashimoto, who was excited to take the franchise back to where it started. And he directs this reboot with a fervent energy. It’s a well paced 103 minutes that is full of excitement. Godzilla’s second emergence into Tokyo is one of the best action sequences in the entire franchise. And yet the film is imbued with a fun streak of humor.
Great fun all around – just wish there was an Ifukube score. Reijirô Koroku’s score is fine but lacks the emotional impact of the original score and it’s a shame that Ifukube didn’t do this film because he would doing later Heisei films.
as an add-on the American Version: GODZILLA 1985
3/5
Actually the best addition to this movie is scene where Godzilla is going through Tokyo and a helicopter gets fried by Godzilla’s atomic breath
In this English language version, it’s a news traffic copter which gets blasted and then falls onto parked/stalled cars in traffic and sets off a chain reaction. Like what the hell is a traffic copter doing flying near Godzilla?!?!?
Very funny
And the American Major is one of the stupidest guys alive but his “that’s quite an urban renewal program they have going on “ followed by the withering glare and head shake from Burr is absolutely tremendous.
And Burr wrote the closing narration himself which was absolutely brilliant.
It’s a fun movie, albeit much less than the Japanese original.
GODZILLA v BIOLLANTE (1989)
4/5
Opening up where the return of Godzilla left off, this movie is an absolute hoot. During the cleanup of the mess left at the end of The Return of Godzilla, cells from the Big G are found and are hijacked by American soldiers who are then killed by an assassin who brings the cells to the oil rich country of Saradia. Dr. Genshiro Shiragami and his daughter, Erika, are enlisted to aid with the project, but a terrorist bombing kills Erika. 5 years later Dr. Shiragami has merged some of Erika’s cells with those of a rose to preserve her memory. Meanwhile the Americans and Saradians fight over the G-cells. When the volcano that Godzilla fell into erupts, Shiragami’s house and his roses are damaged and he uses the G-cells to repair them. But this has untoward consequences, creating a plant that’s very large and frightful and is named Biollante.
This first film in the Heisei era is pure 1980s kitsch – in the very best of ways – complete with rousing music, great Tokusatsu effects and miniature usage mixed with live action as well as above average cinematography for a Godzilla film plus a healthy dose of the paranormal.
As to this last point, it also marks the first appearance of one of the most intriguing characters in the entire Godzilla ouevre, Miki Saegusa, an empath who uses her powers to fight connect with Kaiju. So popular was her character that she appeared in no less than 7 Godzilla films, a record for the Godzilla franchise.
The idea originated from a public story-writing contest, and it shows – in a good way. It is the first time in over twenty years that there was some real originality in the script. And it dealt with the dangers of genetic engineering several years before Jurassic Park was released both in novel and movie form, and steered away from the dangers of nuclear radiation.
In 2014, a Japanese poll rated this as the public’s favorite Godzilla film. I don’t know about that but it is pretty popular.
The music is a bit of a distraction (almost sounding like it was lifted from Superman: The Movie) but it includes many of Akira Ifukube’s original themes (even though Ifukube did not like the way that they were used). And Biollante’s head, looking like a rose with fangs in it ( in its first incarnation) seriously reminds me of the movie Teeth. IYKYK. And the acting, as it was in the later Showa films and the early Heisei films, is wooden but perfectly acceptable.
And the spy angle is a little far-fetched but it fits and director Kazuki Ōmori had a lot of fun with it, creating an Agent SSS9, Saradian Secret Service agent 9 – his answer to 007 – and the role is played with glee by Manjot Bedi.
Kôji Takahashi is terrific as Dr. Shiragami and Masanobu Takashima does a great job as Major Kuroki who is in charge of the JSDF squadron. But it is Megumi Osaka who steals the show as Miki Saegusa.
But in a nice nostalgic bit of casting, Actress Yoshiko Kuga, who played Keiko Owada (the representative to the Prime Minister) in this film, was the widow of actor Akihiko Hirata, who was a regular in the Godzilla film series, from the original Godzilla (1954) to Terror of Mechagodzilla (1975). This is her first and only appearance in the series, 5 years after her husband’s passing.
And the Super X is back in the new and improved version 2.
But what really rocks is the new Godzilla suit, nicknamed “Bio-Goji”. With two rows of teeth and a mean looking visage this is a well designed Godzilla suit.
All in all it is a fun movie and Criterion’s 4K is a fantastic transfer.
GODZILLA VS. KING GHIDORAH (1991)
4/5
In the year 2204, the Futurians find the remains of King Ghidorah. Meanwhile back in 1992, Godzilla is still feeling the effects of his battle with Biollante. Meanwhile a WWII veteran speaks of his encounter with a giant dinosaur during the war in which a giant Godzillasaurus saved the garrison from the American army. The Futurians plan to travel back to 1944 to prevent the Godzillasaurus from mutating into Godzilla – so far so good. But the Futurians have an evil plan to leave genetically engineered dragons on the island which will, when exposed to radiation, mutate into King Ghidorah so they can conquer Japan and then the world. It’s up to a science fiction author and a Japanese member of the Futurians, who doesn’t want to see her birthright country destroyed, to save the day.
It starts off like another Godzilla picture with elements of science fiction, aliens/ bad people from the future and time travel but then the movie devolves – in a good way – into broad humor which helps the movie.
The aliens from the future detract from the enjoyment of the film but the rest of the story is first rate, especially the time travel back to when Big G and King G were just small little dinosaurs compared to now.
Also director Kazuki Ômori makes great use of legacy Godzilla actors Kenji Sahara and Yoshio Tsuchiya and honors the franchise by doing so, even if their roles are small. Tsuchiya has a great role as Major Shindo, the commander of the Japanese forces in Lagos Island in 1944 and as his older businessman self in 1992. He conveys the reverential tone of the film. “Godzilla was my savior” he reminds everyone. Kôichi Ueda, who started with the franchise in Biollante, plays a mad old Japanese veteran along with his younger self as well. And once again, Megumi Odaka once again takes front and center as psychic Miki Saegusa.
But stealing the show is American wannabe baseball player turned minor actor Robert Scott Field as M-11, an android and the member of the Futurians whose acting is so over the top that it turns the movie into high camp. He can run at high speed, faster than cars and always has a goofy look on his face.
The time travel panel on the Futurians craft is directly out of Back To The Future. And there is a great reference in the WWII segment when the Americans think they see a UFO. The commander tells his subordinate “you can tell your kids about it, Major Spielberg!”
The movie engendered some criticism from the superpower known as the USA when a platoon of American soldiers are squashed by the Godzillasaurus. For my part, this criticism is absolutely nonsense.
What is clear is that much of the basis for Godzilla Minus One – at least insofar as the origins of Godzilla – were lifted from this movie especially as it pertains to a smaller dinosaur mutating into the beast we all know as Big G.
The destruction scenes especially Ghidorah’s attack on Kyushu are particularly well staged but there are some tell tale signs. Whereas Ishiro Honda directed hundreds of extras, Ômori seems to have about 75 extras so that the foreground is heavily populated but the background is empty and it just doesn’t seem right. But it’s a minor complaint.
Offsetting this is the use of actual jet fighters spliced in with models which gives a more realistic portrayal of the battles.
And Akira Ifukube’s score is really a tremendous throwback to the themes used in the earlier Shōwa era films and it really adds to the film’s enjoyment. He wasn’t going to do it but his daughter cajoled him into doing it.
And nowhere does his score soar as much as it does during the final battle between Godzilla and Ghidorah. It is an epic battle from two of kaijus most famous monsters. If is a terrific battle sequence that utilizes all of Toho’s expertise in Tokusatsu, suitmation and miniature work to make it look convincingly entertaining. In addition, Godzilla’s destruction of Sapporo is equally monumental. Tremendous miniature sets, squibbs and some actual pratfalls (Godzilla falls into a subway station!) combine to heighten the action.
And remember, we are still dealing with a Bad Godzilla so just when you think the action is over, Ômori has an ace up his sleeve.
And when one character says “go ahead” and the other character follows up with “make my day” you know, for a fact that they have.
GODZILLA VS. MOTHRA: THE BATTLE FOR EARTH (1992)
4/5
When we last saw Godzilla he sunk to a very deep portion of the ocean after his fight with MechaGhidorah. But a meteorite awakens him from hibernation but also unleashes a giant egg on Infant Island. An archaeologist is arrested after doing some Indiana Jones type of archaeology but is released from jail by some Japanese government officials who need his help. They find the giant egg and a pair of tiny humanoids called the Cosmos (Mothra’s fairies). They tell of a giant moth named Battra that destroyed a civilization on earth 12,000 years prior. But Mothra disposed of Battra. Until now. Battra reappears and fights Godzilla but they fall into a deep crevasse in the ocean. And then Mothra hatches and all three Kaiju mix it up.
What works for this film is that it is epic in scope. The devastation caused by each of the three monsters is tremendous and there is more in the way of extras so that the crowd scenes seem like old times.
Original Gojira star Akira Takarada is on hand as well as everyone’s favorite psychic, Miki Saegusa. But it’s the three main humans, Tetsuya Bessho, Satomi Kobayashi and Takehiro Murata who are the pivotal players in the film. And considering they are up against actors in suits, they do an admirable job.
Again, Akira Ifukube scores this film and you can tell he is having fun with this one. Not only does he resurrect his Godzilla themes but he gets to bring to life his Mothra themes from its eponymous 1961 film. Ikufube’s score is dynamite. And the inclusion of the Mothra song sung by the Shobijin fairies gives me a chill.
Kazuki Ōmori who wrote and directed Biollante and Ghidorah wrote the screenplay which was directed by Takao Takawara who directed several later films in the Heisei era after this one. And there’s a bit of an environmental theme as one of the human antagonists is the owner of a large corporation that has done what it can to pillage the entire planet for its minerals.
The special effects are uniformly excellent. Mothra’s landfall into Japan is one of the best Kaiju destruction stagings done thus far. Mothra’s damage through Akasaka is a thing of beauty. Mothra’s damage to the National Diet Building, a favorite target for Kaiju, sets up her transformation. Godzilla’s destruction of Yokohama is equally resplendent as Godzilla and miniature buildings are composited behind live action. The Yokohama sets are impressive and the fight between longtime arch enemies Battra and Mothra takes place among some really reticulated sets.
It’s easy to be dismissive of films such as this because the are not Shōwa films but it really is strange that critics would ignore the craftsmanship that went in to making the film. Obviously post-production special effects had to be cued up to the on-set explosions and they are done seamlessly. The Ferris Wheel bit is to die for.
This would have been a 5/5 if it wasn’t for that annoying little girl in the film who kills the vibe.
Otherwise a superb Kaiju film.
GODZILLA VS. MECHAGODZILLA II (1993)
4.5/5
After MechaGhidorah got its butt kicked, the United Nations Godzilla Countermeasures Center salvages the remains and makes a ship called Garuda and a model of Godzilla called Mechagodzilla. One year after the fight with Mothra and Battra, a large pteranodon egg is found. It gives off a signal that attracts both Rodan and Godzilla who battle and Godzilla critically injured Rodan. The egg is taken to a research facility. But it turns out not to be a pteranodon egg. It contains a Baby Godzilla who, when hatched, bonds with a young scientist. Then Godzilla fights Mechagodzilla.
The script by Wataru Mimura is above average and the plot is well-considered for a Godzilla film. It has a good sense of humor, as evidence by the whole “mood egg” discussion where the professor (there’s always a professor isn’t there?) notices that the egg changes color whenever the young scientist, Azusa Gojo, is around. The film introduces the concept of “G-Force” the branch of the military designed to fight Godzilla. Takao Okawara does a great job directing the film and bringing the story to life.
The rendering of Baby Godzilla is obviously done to attract children but he isn’t as poorly rendered as the Son of Godzilla, Minilla. In this case, it appears to be a non-aggressive, plant-eating Godzillasaur as found in Godzilla v King Ghidorah.
The rebuilt Mechagodzilla is operated by humans from the inside as if it was just another weapon. And the fights between a rampaging Godzilla and his Mechanized twin are truly outstanding. There is a lot of inventiveness surrounding Mechagodzilla’s weaponry. Of course, Mechagodzilla is only a machine and machines break down.
The fight between Rodan and Godzilla on the deserted island is nothing short of spectacular. It wasn’t cheesy. It was fully staged and executed by its suitmation performers. And Godzilla’s rampage through Kyoto is a wondrous mix of miniature usage and compositing between real and studio work.
Megumi Osaka is back as Miki Saegusa and she is given a lot more to do in this film. Masahiro Takashima is perfectly cast as Kazuma Aoki the pilot for G-Force and like any good learning a Godzilla film he radiates importance of purpose along with a wry sense of humor. Ryuko Sano is good as Gojo and you can actually sense a kinship with the Baby Godzilla in her performance.
If I had a complaint it’s that Shōwa regulars Kenji Sahara and Tadao Takashima are woefully underused – however, Takashima’s son plays the human male lead. The acting is about average for a Godzilla movie but the actors deliver their roles with a certain earnestness despite the written material which is certainly inventive. For example, there is the notion that there will be an attack on Godzilla’s second brain, the one in his back. 
. I don’t write this stuff, I just report it. Plus, all the men out there know that our second brain is definitely not located in our backs, amiright?!?
The suit developed for the Heisei era post-Biollante Godzilla is tremendous, showing a much more evil and scary version of Godzilla. His visage is more severe, especially with the double row of teeth. And Godzilla is on screen for the highest amount of time in the entire franchise, 27 minutes, close to 20-% of the runtime. The final 35 minutes are wall to wall action, which is something that’s rarely seen.
For this reason alone, it’s the best Heisei has to offer and a real franchise highlight. For one, the artistry involved in this tokusatsu film is likely the finest in the whole Heisei series as the Miniatures and costumes are fully realized. But, more importantly, the astounding Akira Ifukube score – both new and legacy – gives this film its mojo and makes it one of the best tributes to the early Shōwa Era films.
GODZILLA VS. SPACEGODZILLA (1994)
3.5/5
When Biollante disintegrated and its particles went into outer space it took some of Godzilla’s cells with it. And so did Mothra. Unfortunately, space radiation in a black hole caused a creature that looks a lot like Godzilla and which has been dubbed Space Godzilla is coming towards earth. Meanwhile, those crazy cats from G-Force go to the Island where Godzilla and Little Godzilla in order to plant a mind control device on Godzilla. Miki Saegusa attempts to control Godzilla by mind control but is kidnapped by the Yakuza. And the MOGUERA, the reformed MechaGodzilla utilized by G- Force is damaged by SpaceGodzilla in an outer space battle. And a strange guy named Akira Yuki, a Major in the Army, helps G-Force but he really wants to be a loner.
Not as good as its predecessors this is still an entertaining film. One of the things that hit me smack dab in the middle of the forehead was Takayuki Hattori’s score which homaged John Barry’s iconic main theme for You Only Live Twice, which was the only Bond film primarily set in Japan. Akira Ifukube refused to be involved after reading the script, although some of his iconic themes are used. Otherwise, the score is forgettable.
The film is a lot more lighthearted in tone than its predecessors but it is still far from getting into the kiddie territory of All Monsters Attack. It puts Miki Saegusa front and center and has her telepathing with Little Godzilla whose design is somewhere between Shōwa’s Minilla and the baby Gojirasaurua in Godzilla v. Mechagodzilla II. However, it also re-establishes role as a Protector once again. He is still a bad guy but it’s more like “I’m an asshole but I’m your kind of asshole.”
What sets this apart is the enigmatic performance of Akira Emoto as Major Akira Yuki. He is a loner with a history. Emoto would later portray a general in Shin Godzilla. His character, Yuki, is the human reason to watch this film. I would have liked to have seen him in more movies.
The script is what is the big problem in this film. Miki is an empath, we know that. But the film all of a sudden gives her telekinetic powers which works for one scene but it really comes out of left field and could have been handled differently. And the MOGUERA is an acronym for (Mobile Operations G-Force Universal Expert Robot: Aero-type) – seriously?!?
And, again, I will nitpick – whenever I encounter a huge monster approaching a major metropolitan area there are thousands of people fleeing not dozens. I know extras cost money but make it a little realistic. Also, Godzilla is on the mainland – why is a rollercoaster still operating. Same stuff as in the Shōwa era when the trains don’t stop when Godzilla makes landfall. On a positive note, the compositing of Godzilla into scenes with real people is tremendous and the blending of street scenes with the Kaiju destroying miniatures is top notch.
The SpaceGodzilla design is outstanding, almost terrifying even, and the battle between Godzilla and SpaceGodzilla is really too- notch. . Kenpachiro Satsuma really did a great job playing Godzilla in this film and he has really set the tone for the monster appearing as Big G in all of the Heisei films.
One of the things that the Heisei era got right was having a continuous storyline and having repeating actors play the same character in the films. Besides Megumi Odaka playing Seagusa, Kenji Shara plays Minister Segawa, Akira Nakao plays Commander Aso and Kôichi Ueda plays Deputy Commander Hyodo in more than one film- giving the era a bit of much needed continuity.
Still, it’s an enjoyable entry in an era of films that had a higher hit percentage than its predecessor.
GODZILLA VS. DESTOROYAH (1995)
5/5
The final entry of the Heisei series goes out with a bang. And in doing so it pays great homage to the original 1954 film.
Godzilla appears in Hong Kong and he has large red swatches across his body which are presumably nuclear radiation that has contaminated his Judy and has allowed his Godzilla breath to be even more devastating. The Japanese self-defense forces turn to a college student, Kenkichi Yamane. Yamane suspects that Godzilla is undergoing a nuclear meltdown. Yamane believes that humanity’s best chance is to recreate Dr. Serizawa’s Oxygen Destroyer. Meanwhile, human sized crustacean monsters, spawned by a remake of the Oxygen Destroyer called Destoroyahs fight the JSDF and then coalesce into a larger creature.
What the film does right is lean into the original film. The college student Yamane is the grandson of Kyohei Yamane played by the great Takashi Shimura in the 1954 film. Momoko Kōchi appears as Emiko Yamane, one of the main characters and Akihiko Harata as the original Dr. Serizawa is shown in photos and in archive footage. Besides Kōchi, this would be the final film worked on by longtime producer Tomoyuki Tanaka and composer Akira Ifukube.
Written by Kazuki Ōmori (who wrote and directed other films in the Heisei era) and directed by Takao Okawara who was also involved in other Heisei films, this movie pulls out all of the stops. There is slam-bang action, multitudes of Kaiju, a high body count and a tremendous amount of carnage.
The special effects are tremendous and the crab-like Destoroyahs are finely articulated. This is one of the biggest, most ambitious projects that Godzilla has ever produced. Whether it is Kaiju v. Kaiju or Kaiju v. Human, the action doesn’t let up. There’s a terrific scene in which one of the Destoroyahs goes after a television reporter stuck in her car. It’s a mastery of technical practical monster effects. There’s even a quick blink-and-you’ll-miss-it” nod to Alien 3.
The story is highly inventive with G-Force able to cryogenically freeze Godzilla for a short period of time. And it resurrects Little Godzilla who has now grown in size almost equal to the original Godzilla.
Some of the special effects come off cheesy because Toho skimped on the budget for this film so for example the compositing of people into action sequences looks off. But when the small Destoroyahs coalesce into a larger creature that attacks it is a miracle of miniatures and suitmation that really shine through.
The last 45 minutes of this film might be the very best in any Kaiju film, just wall-to-wall action. It is one of those extended scenes that I often rewatch.
It’s a terrific ending to the Heisei/VS era films and it gives credit where credit is due – to the original.
GODZILLA 2000: MILLENNIUM (1999)
ALL HAIL THE MILLENIUM!
A solitary lighthouse keeper hears a rumbling and looks outside. A boat apparently flies past his window. But the boat is clenched in teeth of a great monster, of course, Godzilla. The Godzilla Prediction Network (GPN) was formed to study the lad and predict where he might surface. Well, their instruments might need re-calibration as they almost drive onto Godzilla’s foot and have to beat a hasty retreat. Professor Yuji Shinoda learns that Godzilla’s properties are regenerative but so do aliens aboard a UFO ( UFOs again, Toho?!?) that looks like a rock who want to use it to regenerate their own bodies but in the process create a huge creature called Orga – with regenerative properties- that Godzilla must battle. And of course the GPN is feeling heat from a governmental organization that’s kind of shady, led by the equally shady Mitsuo Katagiri.
There are lapses in this film, which was rushed into production after the successful failure of Tristar’s and Roland Emmerich’s Godzilla in 1998 caused a planned trilogy to be scrapped, along with fans asking for a resurgence of a Toho Godzilla. But under the thoughtful and experienced hand of director Takao Okawara, who directed four of the best Heisei movies, the film satisfies.
Nevertheless, the special effects – especially those of the UFO – don’t seem particularly well rendered and it may be that they were rushed into production. Toho hadn’t planned on a new movie until 2004, for the Big Guy’s 50th birthday but this came out just 18 months after the US film did. Not a lot of prep time. Even the destruction of the Tokyo Opera City Center (lifted from Independence Day) would have been better served with practical effects rather than CGI as was done in Emmerich’s film. Using Chroma Key compositing many – but not all – of the effects shots of Godzilla were superimposed on real life locations. The Godzilla suit was partially based on the KingGoji suit from 1962’s King Kong v Godzilla with the addition of extra high dorsal fins.
In a keen bit of irony, there is one shot where the rock/UFO slowly flies above the evil government agent and the shadows are reminiscent of those in Emmerich’s Independence Day when the big alien spacecrafts situate themselves above each primary target.
Takawara also included a neat reference to the original film. When Shiro Miyasaka is advising his thoughts on the UFO to military advisors, he sticks his tie back inside his suit jacket. This was also done by Takashi Shimura as Professor Kyohei Yamane in the original Gojira.
Takehiro Murata and Hiroshi Abe are terrific as, respectively, Yuji Shinoda and Mitsuo Katagiri, the main protagonist and antagonist in this film. But they are equally driven, but by different motives. Shinoda is determined to find out what he can about Godzilla and Katagiri wants merely to destroy the UFO without any thought. They both give excellent performances, especially Abe who will do anything to achieve his goal – including the death of an old colleague.
Unlike Destoroyah which was balls to the wall action for the final 45 minutes, this movie needed to be paced better because most of the action happens in the last 15 minutes of the film and even then it moves at a rather languid pace; however, Our Man in Tokyo (Godzilla) still has a trick or two up his sleeve.
Still, the final scenes recover and while the film fails to live up to the 1954 original, it still pleases.
GODZILLA VS. MEGAGUIRUS (2000)
4/5
Holy alternate timeline Batman.
This movie is a direct sequel to the original film. As it is explained, Godzilla appears in 1954. In 1966 Godzilla returns and attacks a nuclear power plant for feeding. The government decides to give up nuclear power in favor of water, wind and solar alternatives but they are not enough so plasma energy is created. Five years later, Kiriko Tsujimori is in charge of the “G-Graspers” a unit that awaits Godzilla’s return. They have developed a weapon called Dimension Tide that is designed to kill Godzilla by creating a black hole but which, instead, opens up a wormhole through which a giant dragonfly named Meganula exits and deposits an egg sac before returning. A kid finds it and dumps into a sewer where it splits into eggs and produces a lot of dragonfly nymphs, who feed on Godzilla’s energy when he returns – and it’s this energy that allows them to feed their queen which becomes Megaguirus.
This movie has grown on me over the past few years. From a movie that when I first saw it I thought was laughably bad, I have now been able to appreciate it better after multiple viewings.
And what bugged me before but what I like now is how the movie leans into its preposterousness. When the G-Graspers need to track Godzilla, Tsujimori jumps on Godzilla’s back in the middle of the ocean and shoots a tracker into one of his dorsal fins.
There are excellent Tokusatu and miniature effects as well as a great historical backstory of Godzilla which combined with the Meganulon bad guys make this terrific fun. The special effects are first rate and the flooding of the Shibuya district in Tokyo is spectacularly rendered, especially as one of the final battles occurs there.
The scenes with the Meganula attacking Godzilla and sucking out his Precious Bodily Fluids is a nice combination of practical and visual effects. In addition some of the footage from the original film was recreated with the new Godzilla suit, since Godzilla’s appearance has changed so much from the original version. But you really can’t tell. Unless you read this.
Misato Tanaka was so good as Tsujimori that I am surprised Toho did not bring her back. She is strong, confident and single-minded of purpose and is the strongest female character in the entire franchise. So of course in the next films she has a cameo as a nurse. Masatō Ibu, who was so good as the prisoner of war commandant in Empire of the Sun, is equally good as the head of the Anti-G forces, who is also a bit of a dick.
And as they have always done, Toho brings back some actors from its long legacy. In this case, Yuriko Hoskins on hand as the physicist in charge of the Special G Countermeasures Force which is a long cry from the photographer-heroine that she played in Ghidorah the Three-Headed Monster.
Masaaki Tazuka, who was all of two months old when the original Godzilla was released directs with a steady hand and has a reverence for all the material. This is no more evident than in the final battle between Godzilla and Megaguirus which, while action-packed, has its share of humor as Megaguirus flies circles around Godzilla.
But it still has a bit of Spies Like Us in it with the whole concept of Dimension Tide and even the music during its usage is reminiscent of Elmer Bernstein’s classic score.
Still, a terrifically fun film. And it’s the first Godzilla film with a post-credit scene so stay tuned.
GODZILLA, MOTHRA AND KING GHIDORAH: GIANT MONSTERS ALL-OUT ATTACK (2001)
5/5
I know I keep upping my ratings but repeated viewings have allowed me to enjoy these Millenium Godzilla films even more. This is a particularly great one taking place in 2004, 50 years after the original Godzilla attack and erases all prior films, except the original and 1998, at which they take a nicely placed jab that apparently drew cheers and laughs from the Japanese audience.
It seems that Godzilla may have been spotted by a deep sea submarine operated by the JSDF. A group of asshole kids on a beach vandalizes a convenience store and get more than they bargain for when Mothra surfaces. Then there’s the guy who wants to hang himself and makes a hash out of it and falls through the ground into a cavern in which King Ghidorah is buried. An intrepid reporter of pseudo-documentaries finds an old man – a prophet- who describes guardian monsters, Baragon, Mothra and King Ghidorah as protectors of Japan from the evil Godzilla who has just come ashore. But not the citizenry. They are there to protect the mountains, rivers and streams. The reporter’s father is an admiral in the Japanese navy and together they must help the guardian monsters defeat Godzilla.
In some ways, this is the Millenium film that is closest in spirit to the later films of the Shōwa Era. While technologically the film is squarely in the 2000s, the Kaiju lore established decades earlier looms large. There’s even a picture of Professor Yamane from the original movie which falls off the wall when Godzilla comes ashore.
The action in this film is absolutely stunning and the mixture of real life, miniatures and a guy in a Godzilla suit has never been as effective. It doesn’t hurt that there are so many monsters in this film that it seems like a reboot of Destroy All Monsters.
The special effects are extraordinarily well done. The compositing of monsters and miniatures with real world locations is seamless and highly satisfying. In some scenes you can’t tell the miniatures from the real world. Godzilla’s fight with Baragon is straight out of a 1960s Kaiju film.
Director Shûsuke Kaneko who also co-wrote the script has full command of the film. He understands the material and the Kaiju concept. He breathed new life into the Gamera series in the Heisei era with his trilogy and this film was the next logical step. It’s a real shame he hasn’t directed more Kaiju films. And, finally, here’s a director who knows how many extras it takes to run away from Godzilla to make it look realistic. Also he understands the humor necessity. When the General selected to command the efforts rallies the troops he says, in dead seriousness, “that lizard picked on the wrong guy here.”
Again, there is a need for us to try and forget Mothra, Baragon and Ghidorah because in this film’s timeline Japan has not seen them before. I know easier said than done but Kaneko makes it work.
While there have been lots of deaths at the hands of Kaiju, this movie has the most mean-spirited and hysterically funny death scene when Godzilla comes ashore. There’s a girl in a hospital with a broken leg – caused by an earlier Godzilla incursion. She sees Godzilla coming towards her and she screams and screams and can’t move because she is in traction. Finally Godzilla passes and she breathes a sigh of relief – until Godzilla’s tail hits her window. It’s a cruel death but it’s a funny one.
Again, Toho pulls an actor in from the Shōwa era. In this case, it is Hideyo Amamoto who is best known as toy maker Shinpei Inami who befriends the young protagonist in All Monsters Attack. In this film he plays the old professor/prophet who provides the warning.
The last forty minutes is out of this world and is one of the best Kaiju battles committed to screen. And this sequence as well as the entire film is propelled by Kow Otani’s soundtrack, my favorite non-Ifukube score.
It really is a terrific reboot achievement and one of the best Tokusatsu films in the franchise.
GODZILLA AGAINST MECHAGODZILLA (2002)
4/5
It’s 1999, 45 years after the death of Godzilla by Dr. Serizawa’s oxygen destroyer, when a new Godzilla appears. Maser-cannon operator Akane Yashiro is unable to kill Godzilla and in retreat knocks comrade’s vehicle into a ravine where it is stepped on by the big guy. Akane is demoted while several scientists, including single father Tokumitsu Yuhara, are tasked to create a cyborg mecha to defend Japan. They are creating a bio- unit from the skeleton of the original Godzilla killed in 1954 which was salvaged. Four years later, Yashiro is asked by her former C.O. to join the team piloting MechaGodzilla, known as Kiryu, much to the consternation of her fellow teammates. The Kiryu features an Absolute Zero Cannon intended to freeze and then disintegrate Godzilla. During Godzilla’s first attack, its roar causes Kiryu – which is biomechanical and filled with the DNA of the original Godzilla – to go crazy and cause damage
This is a fine entry in the Millennium series and it’s highly interesting in that – unlike other Millennium films – it ignores prior Godzilla films but it does not ignore other Kaiju entries as it references Mothra and Gaira and leans into the existence of Shōwa era monsters.
Director Masaaki Tezuka has a lot of fun with this film. There is a good sense of humor to it and although there is the serious element to it – Yashiro’s long road to gaining her teammates’ trust back – it is not overplayed. In fact, the screenplay does a good job dealing with Yashiro’s PTSD. It also handles how she regains the trust of her fellow teammates.
The destruction is quite fun. Kiryu walking through a building on his first rampage is quite fun. The fight between Godzilla and MechaGodzilla among the very large miniature set is absolutely outstanding and is more at the level of a wrestling match than the sedate battles of the past. This was like watching rock ‘em sock ‘em robots.
The cast is excellent. Yumiko Shako, a former pinup girl, is terrific as Yashiro and it’s a shame that she didn’t have as large a role in the direct sequel, Godzilla: Tokyo S.O.S. Shin Takuma is also excellent and provides a great deal of “gee whiz” kind of humor as scientist/single father Tokumitsu Yahara. And the scenes with his daughter work and don’t seem forced.
And Toho continues to cast actors from the Shōwa and Heisei eras. Kumi Mizuno, who was in Frankenstein v Baragon, War of the Gargantuas, Invasion of the Astro-Monster and Enjrah, Horror of the Deep – four Shōwa classics – plays the Japanese Prime Minister in 1999. Akira Nakao, who played Commander Aso through the Heisei continuity, is on hand as the new Prime Minister in 2003. In addition, Kôichi Ueda, who played several roles in both Heisei and Millennium, is still sticking around having fun.
And as an in-joke, Hideki Matsui – whose nickname was Godzilla when he played pro ball in Japan – is shown teaching baseball to youngsters and shepherds them to safety but not before hitting a baseball out of the park. And Misato Tanaka returns from her excellent gig as Tsujimori in Godzilla vs. Megaguirus but is given a mere brief cameo as a nurse. What a shame, because she had so much to offer.
The score is a rousing military-like affair composed by Michiru Ōshima who is the first and only female composer for the Godzilla film series, best known for scoring the Millennium-era films: Godzilla vs. Megaguirus (2000), Godzilla Against MechaGodzilla (2002), and Godzilla: Tokyo SOS (2003). It forgoes any of Akira Ifukube’s theme music which is fine because the score is rousing in and of itself.
Finally, the return to the shorter length of the Shōwa era films really helps. I know it is only 15 minutes but for this type of movie, sometimes that extra 15 minutes can seem like an eternity. Plus, the story continues in Godzilla: Tokyo S.O.S.
The last 15-30 minutes of this movie are fantastic and with the promise of a sequel all of us Godzilla Nerds can revel in the fun
Don’t miss the Post-Credit scene.
GODZILLA: TOKYO S.O.S. (2003)
4.5/5
This is a direct follow up to 2002’s Godzilla against MechaGodzilla. And, wow, what a sequel.
Mothra is detected flying to Japan and evades military planes. Then an old man, living with his grandson and scientist nephew feels his house shake. But it’s no ordinary man. This is retired scientist Shinichi Chujo a man who has encountered and befriended Mothra, as much as one can, along with his Shobijin (fairies). After the house shakes, descendants of the original Shobijin appear at Chujo’s house and warn him that Godzilla’s bones, which were used to power Kiryu/MechaGodzilla, should be returned to the sea. If the government returns the bones to the ocean, then the descendant of the original Mothra will defend Japan.
This penultimate installment in the Millennium era is not only an excellent Godzilla film but it is also a Godzilla fanboy’s dream. The absolute genius to bring back Mothra is overshadowed by the decision to bring Hiroshi Koizumi back from a 15 year retirement to reprise his role from 1961. Koizumi was a mainstay in the Shōwa era, first appearing as the star of Godzilla Raids Again and following it up as Chujo in Mothra and following that role up his roles as Professor Miura (who was essentially Professor Chujo under a different name) in Mothra v Godzilla and Ghidorah the Three Headed Monster. And he does more than reprise his role; he provides much needed backstory for anyone not old enough to have seen the original Mothra from 1961.
Besides Koizumi, Toho stalwarts Akira Nakao and Kôichi Ueda reprise their roles as PM Igarashi and Director Dobashi from the prior movie. Noburu Kaneko is excellent as Chujo’s nephew Yoshito who against all odds must fix Kiryu while the monsters fight around him.
The destruction of Tokyo is thoroughly outstanding and is even better if one has the the Blu-ray of this film and watches the outstanding 21 minute making of documentary which shows how the miniatures are constructed and destroyed along with the final clips from the film. The sets showing the exterior and interior of the full sized Kiryu are equally impressive. When you watch the “making of” film, it shows how impressive the slow motion special effects are that give the impression of incredible power but which, are, in reality a way to show how the special effects are so well rendered because otherwise they’d be too fast to see.
Like the previous film – which is a direct prequel- this music eschews the usage of any of Akira Ifukube’s iconic theme music, which is fine. Michiro Ōshima who scored the previous film continues her efforts and the score works quite well.
For the last 40 minutes of the movie, the action is non-stop. Director Masaaki Tezuka who wrote the screenplay as well is in full command. Toho gave him four screen treatments as his follow up to Godzilla against Mechagodzilla and he rejected them all, preferring to focus on Shōwa era vibes and bringing back Mothra and Chujo.
The sets are absolutely incredible and the same of them just leaves one in awe. As Kiryu and Godzilla have their wrestling match, billions of dollars of property damage occurs and when Kiryu gets knocked out, you think it’s over – but it’s not, as two tiny friends lend a hand. It’s a visually spectacular feast with phenomenal special effects.
I had an opportunity to see this in the theater back in 2023 for the movie’s 20th anniversary and I was like a kid in a candy store.
It’s a soulful but action-packed end to the Millennium saga until batshit craziness takes over in the next and final installment. It gets an extra half star for Koizumi.
GODZILLA: FINAL WARS (2004)
4.5/5
Wars and pollution, relentless fighting and environmental destruction, have all awakened vicious monsters. Humankind therefore joins forces with one another in order to drive off the monsters, instead of killing each other. Thus, the Earth Defense Force is born. Meanwhile, a new race of humans with supernatural abilities, called mutants, was discovered around the globe. The Earth Defense Force gathers them and puts them into a league called the M Organization. Their greatest enemy is the king of the monsters who first appeared in 1954, and have repeatedly threatened the world ever since. His name is…[Godzilla roars]
What an awesome way to celebrate Godzilla’s 50th birthday and 28th film. Toho hadn’t planned on making a Godzilla film until 2004 after the conclusion of the Heisei era but the failure of the 1998 American version pressed the need for more films, hence the standalone Millennium films which, for the most part, had their own self-contained continuity.
Despite Godzilla being imprisoned in ice at the South Pole in 2004, forty years later, humanity is being threatened by other Kaiju which have chosen now to surface. A race of benevolent aliens, known as Xiliens, have come to the aid of Earth. But as we know from Shōwa era films, the Xiliens are a bunch of bastards not to be trusted. There’s only one thing for Earth to do: free Godzilla from his icy tomb.
Mutant Ensign Ozaki is tasked with guarding a biologist from the United Nations. They are briefly teleported to Infant Island where Mothra’s fairies, the Shobijin, tell them that a battle eternal between good and evil will occur. And sure enough, around the world monsters attack major cities. And when I say monsters, I mean monsters-Toho brought back many of the monsters from their stable of Kaiju. The monsters are dispatched by the Xiliens and tell the earth that they are there to protect them. But the Xiliens plan to use humans as a food supply and have replaced the leader of the Earth Defense Force and the UN Secretary General with lookalikes of their own. And it turns out that the Xiliens can control all of the mutants, with the exception of Ozaki. And Ozaki must battle the Xilien’s second in command, called The Controller, to help save the World.
This movie focuses on the crew of the updated Gotengo (you might remember it from Atragon). It is now piloted by Captain Douglas Gordon played by former UFC Champion Don Frye – who plays the role as if he were Jesse Ventura – and this guy absolutely steals the movie. He is a no-nonsense take no prisoners kind of guy. He is brash and has no feelings. And that is just what this mission requires.
In addition to all of the monsters, which include Mothra, Ghidorah, Rodan, Gigan, Anguirus, Kamacuras, King Caesar, Kuminga and Ebira, Toho brought back the Planet Gorath (from the movie Gorath) as a reason for the Xiliens help – although it’s a fake.
But Toho also brought back some legacy stars for this movie. Akira Takarada who appeared in the original film is the now-evil UN Secretary General. Kumi Mizuno who appeared in Ebirah, Invasion of the Astro-Monster and the two Gargantua films, is the now-evil leader of the EDF. And Kenji Sahara who was in so many films in the Shōwa era to list, appears as a friendly and not evil scientist. Finally, Akira Nadao and Kôichi Ueda appear as the original Captain and Deputy Captain of the Gotengo who imprison Godzilla in the ice in 2004.
The other actors in the film are fine for the roles that they are playing but it’s Kazuki Kitamura as the Xilien Controller who enjoys chewing the scenery as much as Frye that sells the bad guys. And between him and Frye they are the Yin and Yang of the film. I’d be remiss if I didn’t shout out to Jun Kunumura who is always good to see, although he is not given nearly enough to do in this film.
But it also marked the end of an era. Toho’s “Big Pool” which had been used since 1960. It was nearly a football field in width and almost that in length and it had been used for every Godzilla film. And not only that, this was the final movie that featured “suitmation” for the monsters. All later films would utilize CGI. However, in a twist of fate, the suit that was finally developed for this film was over 150 pounds lighter than previous iterations of the suit without giving up any apparent heft. A case of too little too late.
The movie is very heavily inspired by the action moves of John Woo. The action scenes are frenetic and kinetic as well as being over the top. And include the Kaiju battles as well.
Marking the first time that a non-Japanese composer scored a Godzilla film, Keith Emerson’s score is invigorating but, also, somewhat lacking. It doesn’t have the same reverence for the material as the other scores had and is kind of “too rock and roll” for the material.
This film made its world premiere at Grauman’s Chinese Theater, making this the first time that a Japanese-made Godzilla film made its premiere outside Japan (where the film was released on 4 December 2004), in conjunction with Godzilla getting his star on the Hollywood Walk of Fame.
Unfortunately, the movie was met with very divisive reactions and remains to this day a very polarizing film. I have absolutely zero idea why. It is an absolutely insane Kaiju film replete with worldwide city destruction and battles between Godzilla and many of his previous foes. He even comes together with Mothra to save the world. Admittedly there is a scene some 40 minutes before the end that, while crucial, it is a complete rip from a similar scene in Independence Day.
Ok, the story is not that inventive – but it is a fanboy’s dream. But a thoroughly insane, funny and joyously over the top homage and (somewhat) farewell to the 50 year old Big G – at least for ten years.
If I had one complaint, I’d say that this movie – the longest entry in the Godzilla series – is too long and because it’s too long by twenty minutes there’s a lot of extraneous material in the film that hurts its pacing. There’s also a dumb subplot with a grandson, grandfather and Minilla.
Nevertheless, despite its lapses, this is a fantastic ending to the Millennium series of Godzilla films, chock full of some old familiar foes and friends. It is particularly funny how they lambasted the 1998 Godzilla renamed Zilla and had it summarily dispatched by Godzilla.
I totally dig it. Happy Birthday G. Did you think when you were 50 that in two decades’ time you’d win an Oscar? Shows you that hard work and dedication pay off.
Michael Fried has no formal training in movies, except having watched over 26,000+ movies — if not more — in his 60-plus years on this planet, starting with Goldfinger as his first cinema experience. He knows what he likes and he knows what he doesn’t like, and it’s quite often different from the conventional wisdom. He knows that the best franchise is Godzilla and he loves action movies and comedies. He has not been nominated for any awards except some boring insurance awards which has no applicability to movies (with the possible exceptions of Billy Wilder’s Double Indemnity and John Cassavettes’ Big Trouble). He is part of a team that won the 1980 SUNY Albany Trivia content by correctly guessing the question, “Who played the president of Klopstockia in Million Dollar Legs?” So he has that going for him, which is nice.
Contact Mike at moviemike3@yahoo.com and mike.fried@yahoo.com.
